021821

Proly my fav Bee Gees tune. Used to do this edit live with serato cue points sloppily & no effects obviously. Problem solved! Free download. Please comment and share. Thanks

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Bee Gees 'Love You Inside Out' (Serge Gamesbourg Re - Edit)

Stardust - Music Sounds Better With You (Juan Laya & Jorge Montiel Re-Work)

FREE DOWNLOAD

Music Sounds Better With You - Stardust (Juan Laya & Jorge Montiel Re-Work)

Download

Lou Rawls - You'll Never Find (Feeler(Baku) Rework)*FREE DOWNLOAD*

[Masterworks Music] Looks like Love [low quality]

E.L.O. Last Train To London (Longer Ultra Traxx Remix)

Very Last Drop - Bobby Thurston

Dj Tool for personal exclusive use in my mixes

Röyksopp - What else is There (Rayko Club re-edit)

Fabrice Dayan's Tool
Another classic 80's Rework

Magazine 60 - Don Quichotte (Fabrice Dayan's Sancho Pansa Re-edit)

Free DL:  https://click.dj/starcreature/hotmood-shake
Vinyl: https://starcreature.bandcamp.com/
Discogs: https://www.discogs.com/Hotmood-Hotmood-Vol-2/release/9404052
@Hotmood

Hotmood Volume 2

Hotmood Vol 2

Bandcamp Vinyl

Hotmood Volume 2 - Shake (Free DL in description - Tugboat Edits)

LTJ X-Perience vs. Bee Gees - This Groove Alive (Mother Funker Original Mashup)

Boz Scaggs – JoJo (Rayko Dragon Soul Edit)

Living In A Disco

TRAXSOURCE EXCLUSIVE

Ian Ossia - Living In A Disco [Available Now - Traxsource Exclusive]

Tough times for musicians, especially DJs. You can make it possible for me to survive these crazy times by helping out with a little coffee-money here:
ko-fi.com/djsupermarkt

Buy it here after midnight:
https://tstdedits-djsupermarkt.bandcamp.com

We have a little surprise coming up for you all this Friday. A Bandcamp-only compilation of exclusive Yacht-Disco Edits by our favorite and smoothest reworkers. The vibes will take you on a virtual holiday straight into a tropical sunset.

get it on bandcamp

DoctorSoul - Hold Tight (Don't Let Go Re - Therapy) from: Too Slow To Disco - Yacht Disco Edits

Was mucking about with the Fred Falke and Alan Braxe sample, suddenly remembered the full original, and then this happened.
New bass, percs, arrangment and FX. Hope you like.

KID -  Don't Stop (Pete Le Freq Refreq)

My take on a Salsoul classic. Updated arrangement, new drums, percs and Fx. Hope you like.

Surface - Falling In Love (Pete Le Freq Refreq)

This happened last night - used Izotope and replayed the bass and some keys, gave it new drums and a tweak on the arrangement. Hope you like.
Update, yeah I've tweaked it....the bass had a few sounds that werent quite right....changed instruments ;-)

Oliver Cheatham - Get Down Saturday Nite (Pete Le Freq Refreq)

Groovexploitation Series Box Set: A collection of rare, killer cuts
The Disco Police presents The Mack

Bizarre, experimental, the boisterous, gender-bending, the abrasive.... the “strange democracy” of the dance, the ecumenical groove sanctuary. 

70s Underground Disco, Philadelphia Soul ... Groove, Rare Groove, Nu-Disco, House,  Nu-Disco, Boogie & Discofunk CUTS

Regrooved / Re-Cut / Re-Waxed / Re-Edited / Re-Constructed / Re-Produced / Re-Jigged / Re-Vibed by The Jamwax Crew

Offering his no-nonsense approach to making music, shunning the tediously meticulous mouse-click method in favour of old school razor & tape inspired reel-to-reel style cutting, melody and, well, good old fashioned musicality.
Re-using and remixing older material helping gather new interest in Disco in its authentic form and being responsible for the resurgence of the electronic disco sound is the mission,
drawing from the recent and more distant past of disco, funk, and earlier electronic music, and yet coming out as something that is clearly grounded as music for the future
A set of uplifting and discoid leftfield deep, blissfully hypnotic sampledelia with track flow governed by the laws of extreme groove spawned from an enriched childhood diet of soul, boogie, disco, funk.

The tracks are produced fast, cheap, and dirty, and that’s exactly what sets them apart. They lack that overproduced sheen and merciless four-on-the-floor beat of so much mainstream disco, more often relying on heavy funk percussion. 
In the end, they’re left sounding grittier—more real, more soulful, more timeless. 
The kinetic ambiguity of disco here demolishes the boundary between performer and audience, making dancers and listeners the stars in its heedless, unrepentant approach to pleasure.

R o y A y e r s - Release Yourself (Deep DISKO Reversion By The Mac)

welcome to 1981 with this nice tune of Carol Douglas - My Simple Heart  i remixed for you. Hope you will like it.
Thanks for your comments, likes shares ...see you soon for a new one ;)

Carol Douglas - My Simple Heart (David Kust Simple Remix)

Originally made this track as part of That Needs An Edit, now given a refresh. New bass, percs, drums, acid, synths.......hope you like.

Support Pete

Brother To Brother - Chance With You (Pete Le Freq Refreq)

Excerpts from the album 'THE ULTIMATE BEE GEES'.
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ABOUT THE BEE GEES
Formed: 1958 in Brisbane, Queensland, Australia
Years Active: '60s, '70s, '80s, '90s, '00s

No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb — with Barry writing songs — they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them.

By late 1966, they'd decided to return to England — which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" — which became their first Australian hit while they were in mid-ocean — had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts.

After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style.

In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell."

In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later.

Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" — despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out.

The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, Florida, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged headfirst into the new sound with Main Course — the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born — Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music.

It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles.

By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned.

In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade.

The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs. Robin was diagnosed with and underwent treatment for cancer in 2011. He died in London in May 2012 due to complications from cancer and intestinal surgery; he was 62 years old. Given the previous deaths of Andy (who had several number one hits and who died of an inflammatory heart virus in 1988) and Maurice Gibb, Robin was the third Gibb brother and second member of the Bee Gees to pass away.


Music ℗ & © 2009 Barry Gibb, Robin Gibb and The Estate of Robin Gibb under exclusive license to Warner Strategic Marketing Inc. a Warner Music Group Company.


021821

TheFallenOne